2006/01/01 by Paul Collins · 15 citations
Arts and Humanities · #Aesthetics #Ancient Egypt and Archaeology #Ancient Near East History #Ancient history #Art #Assyria #Femininity #Gender studies #Historical, Religious, and Philosophical Studies #History #Literature #Masculinity #Mesopotamia #Nothing #Philosophy #Queen (butterfly) #Sociology #Space (punctuation) #Symbol (formal)
paper · pdf · doi:10.1017/s0021088900001182
published in Iraq 68, 99-107 (Cambridge University Press)
openalex publication_date 2006/01/01 · openalex created_date 2025/10/10 · openalex updated_date 2026/08/03
The question of identifying cultural symbolism of any period is tortuous without textual or verbal evidence. It is particularly difficult when dealing with an ancient society removed by thousands of years and vast distance in space. Such is the case when interpreting the art of Mesopotamia. Occasionally, textual references help to illuminate possible meanings of imagery. More often than not we are left with nothing but our own culturally conditioned perceptions to explain what we see. However, alternative readings suggested by gender studies raise new ways of approaching familiar scenes. In a recent article I argued that the appearance of a fruiting date palm in the so-called “Garden Party” relief of Ashurbanipal (r. 668–631 BC) from the North Palace at Nineveh helped to situate the scene within a queen's garden. Despite the fact that the climate in Assyria is unfavourable for date-palm cultivation, the image of the tree, closely associated with a goddess, symbolized the feminine space of the garden. I would like to take this proposal further and suggest that the fruiting date palm is a marker of femininity in other images from ancient Iraq and, in addition, that the conifer tree can appear as a symbol of masculinity.